读余秋雨的文章总有一种地域的认同感,换句话说,总觉得文章是出自一个南方人,甚至可以更确切地说,出自一个江浙一带人之手,这就是所谓的“海味”十足的缘故吧。常听人说起“海派”“京派”,那么何为海派京派,似无确切定义;窃以为,海派文章与京派文章相比,无非写得聪明些,灵秀些,读来更轻快些,这也许也是余文的特色吧。余文老少皆宜,雅俗共赏,一时洛阳纸贵,为何?这是由于他的“化功”地道,他能把景观、文化知识与自己的体验感受融化出一篇篇洋洋洒洒、有品位的记游文,亦能处处顾及文化,而这文化又非专一性,而是普及性的,正投合在广大读者口味的共同切面上。我读了他的《文化苦旅》和《霜冷长河》,两者比较,觉得《文化苦旅》强多了,这确是一本优美、顺畅、有一定文化 Reading Yu Qiuyu’s essay always has a sense of regional identity. In other words, it always feels that the essay came from a southerner, or even more precisely, from the hand of a people in Jiangsu and Zhejiang Provinces. This is the reason why the so-called “seafood” It When it comes to talking about the “Shanghai School” and the “Beijing School,” it seems that there is no definitive definition of what Shanghai School is like. It is no surprise that Shanghai School articles are more clever, Perhaps it is also the characteristics of Yu Wen. This is because of his “merit” authentic, he can landscape, cultural knowledge and experience of their own experience melting an essay eloquent, tasteful travel notes, It can also take culture into consideration everywhere, and this culture is not specific, but universal. It is in the common view of the taste of readers. I read his “Cultural Encounter” and “frosty years.” Compared with the two, I think that “cultural hardships” are much stronger. This is indeed a beautiful, smooth and cultural